Sharing view on photography 01

….it’s all about emotions….

Harmony into a fragment of time, this is my view of photography.

It is important to state that, because life and therefore photography is all a matter of “Energy”, the photographer, can only be receptive and perceive the shooting of a good photograph as the intuition to be “here and now” at the right fraction of a second while the energy is endlessly in motion. This is when a photographer “knows”, he has got the right still shot, which detaches itself from the others. The viewer at this stage, according to his state of awareness, will feel the still becoming alive as if the picture in front of him, will disclose it’s multi-faceted reality. If you feel to share this harmony expressed in the image, then you will like the photograph.

Mother and son: first glances with each other after 9 months

“A photo would just be a record were if not for the fact that it is telling a story in time and space, fixing that instant of paroxysm when all tensions which derive from movement appear, thereby bringing about it’s rebirth, that instant of disequilibrium between a past which has already ceased to exist and a future which is just a promise, that sublime instant of emotion when the Universe is about to teeter. Even though it may have other ambitions which must be underlined, a photo must certainly be such when we are dealing with Man and his Life”

B. Corvaisier – VIS A VIS INTERNATIONAL Picture’s magazine

A couple of horses

A couple

“They are a grammar and, even more importantly, an ethics of seeing. Finally, the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads — as an anthology of images.

Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire.

A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what’s in the picture.

A photograph can be treated as a narrowly selective transparency. But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually shady commerce between art and truth.

The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into images.

Godard’s gag vividly parodies the equivocal magic of the photographic image., Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood.

“In deciding how a picture should look, in preferring one exposure to another, photographers are always imposing standards on their subjects.”

S. Sontag

3 men Tractor in a bar

“Approaching the human eyes

How far can a lens succeed in duplicating the characteristics of the human eyes? The natural colors of the subject seen by clear eye, precise expression that can focus directly on what it wants to look at, a swift angle of vision that loses no time in catching even the fastest moving objects. Manufacture’s pursuit of the techniques and technologies that will allow photographic lenses to approach the purity, expression, and dynamism of the human eye will never be tarnished by compromise.

Perspective is the visual effect of the photographic world. Effectively using perspective, such as creating dynamic wide-angle photos and compressed effects with telephoto lenses, makes it possible to produce expressive photographs with impact. Style is the way a photographer uses the ability to compose a picture to make a statement, to express a point of view.”